Pub Date : 2020-01-31DOI: 10.1093/OXFORDHB/9780190454746.013.7
Suzannah Clark
What harmonic features are involved when a musical passage, or a work, is in a particular key? How is balance achieved between modulations that reinforce the home key and those that supplant it altogether? The chapter starts by analyzing “Im wunderschönen Monat Mai,” the opening song in Robert Schumann’s song-cycle Dichterliebe. It considers the criteria for identifying keys and provides a brief history of the role of closure in the definition of key before discussing how composers move between keys and what kinds of key relations they choose. It then explores new theoretical insights on common-tone modulation, along with the issue of content versus cadence in determining degrees of certainty about the establishment of new internal keys. It also compares definitions of tonicization and modulation and concludes with an assessment of how key relations have been shaped into tonal spaces. An important observation—one that highlights the tension between contents and cadences—is that the presence or absence of a final cadence is commonly used to ascertain whether or not a key has been fully articulated. The chapter describes a range of scenarios of such tension as well as the views of various theorists and analysts regarding the relative importance of content versus cadence.
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Pub Date : 2019-05-09DOI: 10.1093/oxfordhb/9780190454746.013.35
V. Iyer
Improvisation has been construed as Western art music’s Other. This chapter urges music theorists to take the consequences of this configuration seriously. The decision to exclude improvisation as inherently unstable is not neutral, but is bound up with the endemic racism that has characterized social relations in the West and that is being brought to the fore in Black Lives Matter and other recent social and political movements. Traditional music theory is not immune from such institutional racism—its insistence on normative musical behaviors is founded on the (white) phallogocentrism of Western thought. Does the resurgent academic interest in improvisation offer a way out? No, at least not as it is currently studied. Even an apparently impartial approach such as cognitive science is not neutral; perception is colored by race. To get anywhere, this chapter argues, improvisation studies must take difference seriously. Important impetus for a more inclusive critical model comes from such fields as Black studies, Women’s studies, subaltern studies, queer studies, and disability studies.
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Pub Date : 2019-03-14DOI: 10.1163/1574-9347_bnp_e802430
Richard Cohn
This chapter presents a sketch of an analytical model of musical meter, focused on sound rather than notation. A meter is defined as a set of pulses, and classified as an ordered set of adjacent pulse pairs, or minimal meters. The model encourages a view of meter as ever-changing and form-shaping. Metric change is defined as pulse substitution. Scripts of metric change are illustrated through analyses of brief passages of Schumann, Glass, and Ghanian dance-drumming. Hypermeter and quasi-meter (that is, non-isochronous or additive meter) are conceived as complementary ways to generalize meter.
{"title":"Meter","authors":"Richard Cohn","doi":"10.1163/1574-9347_bnp_e802430","DOIUrl":"https://doi.org/10.1163/1574-9347_bnp_e802430","url":null,"abstract":"This chapter presents a sketch of an analytical model of musical meter, focused on sound rather than notation. A meter is defined as a set of pulses, and classified as an ordered set of adjacent pulse pairs, or minimal meters. The model encourages a view of meter as ever-changing and form-shaping. Metric change is defined as pulse substitution. Scripts of metric change are illustrated through analyses of brief passages of Schumann, Glass, and Ghanian dance-drumming. Hypermeter and quasi-meter (that is, non-isochronous or additive meter) are conceived as complementary ways to generalize meter.","PeriodicalId":177099,"journal":{"name":"The Oxford Handbook of Critical Concepts in Music Theory","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124222334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-11DOI: 10.1093/oxfordhb/9780190454746.013.3
Henry Klumpenhouwer
In the Western music-theoretical tradition, intervals are basic and foundational. They are also transhistorical, occupying theorists continually from classical origins to the present. Considering their foundational position, one might assume that intervals have a primitive, elementary character with little ideational content, and that the relevant literature is weakly innovative. Intervals appear within systems that reflect certain styles of thinking about musical objects and musical spaces. There are various modes of movement in those spaces, expressed as various counting rules, complicated by a tension between theoretical conventions that regard intervals as magnitudes and theoretical conventions that regard intervals as directed magnitudes. Reflecting on the relevant intuitions and exploring the systems associated with these conventions teaches us important lessons about foundational music-theoretical constructs in Western music theory.
{"title":"Interval","authors":"Henry Klumpenhouwer","doi":"10.1093/oxfordhb/9780190454746.013.3","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190454746.013.3","url":null,"abstract":"In the Western music-theoretical tradition, intervals are basic and foundational. They are also transhistorical, occupying theorists continually from classical origins to the present. Considering their foundational position, one might assume that intervals have a primitive, elementary character with little ideational content, and that the relevant literature is weakly innovative. Intervals appear within systems that reflect certain styles of thinking about musical objects and musical spaces. There are various modes of movement in those spaces, expressed as various counting rules, complicated by a tension between theoretical conventions that regard intervals as magnitudes and theoretical conventions that regard intervals as directed magnitudes. Reflecting on the relevant intuitions and exploring the systems associated with these conventions teaches us important lessons about foundational music-theoretical constructs in Western music theory.","PeriodicalId":177099,"journal":{"name":"The Oxford Handbook of Critical Concepts in Music Theory","volume":"191 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115623896","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-11DOI: 10.1093/OXFORDHB/9780190454746.013.25
Bryan J. Parkhurst, S. Hammel
This chapter recasts the terms “Pitch,” “Tone,” and “Note” as far-reaching historical-materialist categories, with a view to expounding and defending the following ideas: (1) there is an immanent developmental logic to the way that Pitch, Tone, and Note have changed over time; (2) this trajectory of development is open to empirical investigation and to explanation anchored in the concrete features of human practices and institutions and their environing natural and social contexts; and (3) this developmental dynamic has had, and continues to have, appreciable consequences for many aspects and types of “musicking.” After setting up a Marxian framework, we then put these categories to explanatory work in a series of three case studies concerning the development of music’s “forces of production.” The origins of music printing, the evolution of piano manufacture, and the birth of sound synthesis are used to reveal causal linkages between changes in musical practice and trends in capitalist development.
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Pub Date : 2018-10-09DOI: 10.1093/oxfordhb/9780190454746.013.13
M. Scherzinger
This chapter examines the question of musical temporality in broad historical perspective. Through a series of reflections on the philosophy of time, theories of musical time, and the material history of time in the past 250 years, the chapter outlines the basic temporal antinomies of the West. This modern conception of temporality, broadly construed as a precisely-segmented linear time set against narratives of alternative, cyclical time, is shown to be bound up with the project of colonial expansion. The chapter furthermore argues that the value brought to analyses of global time by new phenomenologies of listening, on the one hand, and by disjunctures and differences of polychronic scale, on the other, are grounded in ab initio exclusions of certain modes of practice and thought. By scrutinizing the double conceptions of rhythm and meter in relation to African musical practice, the chapter suggests an opening for thinking outside of hegemonic time.
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Pub Date : 2018-10-09DOI: 10.1093/oxfordhb/9780190454746.013.17
Guilherme Câmara, A. Danielsen
This chapter provides an overview of the concept of groove, investigating musical and sonic components of grooves as well as aspects related to pleasure, process, and affect. It starts out by addressing three distinct general understandings of groove: (1) pattern and performance; (2) pleasure and “wanting to move”; and (3) a state of being. The authors then propose a set of typical (rhythmic) features that seem to be common to a wide range of groove-based styles, exploring five main categories: pulse or regular beat; subdivision of the beat; syncopation; counter-rhythm; and microrhythm. Finally, the chapter presents some viable approaches to the analysis of groove, focusing on swing and anticipated beats in James Brown’s “Get Up (I Feel Like Being A) Sex Machine” (1970), aspects of counter-rhythm in Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher” (1967), and the extending of beats into beat bins in D’Angelo’s “Left & Right” (2000) and Rihanna’s “Needed Me” (2016).
本章概述了凹槽的概念，研究了凹槽的音乐和声音成分以及与愉悦、过程和情感相关的方面。它首先解决三个不同的一般理解槽:(1)模式和性能;(2)愉悦和“想动”;(3)一种存在状态。然后，作者提出了一组典型的(节奏)特征，这些特征似乎是广泛的基于凹槽的风格所共有的，探索了五个主要类别:脉冲或常规节拍;节拍的细分;切分法;counter-rhythm;和microrhythm。最后，本章提出了一些可行的方法来分析groove，重点关注James Brown的“Get Up (I Feel Like Being A) Sex Machine”(1970)中的摇摆和预期节拍，Jackie Wilson的“(Your Love Keeps Lifting Me) Higher and Higher”(1967)中的反节奏方面，以及D 'Angelo的“Left & Right”(2000)和Rihanna的“Needed Me”(2016)中的节拍扩展到节拍箱。
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Pub Date : 2018-08-08DOI: 10.1093/oxfordhb/9780190454746.013.32
M. Tenzer
This chapter situates the extensive phenomenon of musical polyphony globally, taking typological and historical/material approaches in turn, and interspersing applications of comparative method that crosscut both. The typological method involves first considering the elemental aspects of musical sounds and the ways they can be combined, individually and in sequences, to create patterns we recognize as belonging to one of several polyphonic categories. The historical/material approach surveys the development of polyphony in European art music over a millennial span with respect to advances in technology, which drive changes in musical instrument construction, music notation, temperament, and music’s social context. Interspersed throughout are comparative analyses juxtaposing musical homonyms from starkly different world traditions, and musical synonyms from different historical moments within the same tradition.
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Pub Date : 2018-06-07DOI: 10.1093/oxfordhb/9780190454746.013.26
M. Gelbart
The word “scale” in English today is used both by practicing musicians to denote musical exercises or runs, and by theorists to denote abstracted, ordered collections of pitches. Although these ideas are closely related, they also seem partially separable. Their fusion in conception and terminology is the legacy of Latin treatises on the gamut, Enlightenment and post-Enlightenment empiricism (including an interest in what came to be called “comparative musicology”), and the rise of instrumental virtuosity in nineteenth-century Europe. This article discusses historical, theoretical, and psychological questions around concepts of “scale,” considering how etymological and cultural specifics interact with what appear to be hardwired cognitive tendencies, such as melodic movement by small intervals and the ordering of sets. Anglophone (and “Western”) ideas of scale, despite being products of historical happenstance, have parallels in most music.
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Pub Date : 2018-06-07DOI: 10.1093/oxfordhb/9780190454746.013.33
Mitchell Ohriner
“Expressive timing” refers to variation in performed durations among notes represented in a musical score with a single rhythmic value. The principal findings of the field are that performers use unequal durations to communicate grouping and metric structure, but these findings pertain primarily to performances of European solo piano music written between 1775 and 1850. This article presents three case studies of timing in repertoires at ever greater remove from those typically addressed: performances of Brahms’s Concerto for Violin, Varèse’s Density 21.5 for Solo Flute, and Kendrick Lamar’s 2015 rap track “Momma.” Through these case studies, the article expands the number of repertoires addressed by studies of expressive timing and, in doing so, expands the scope of music theory toward the study of multiple musical agencies.
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